Warren "Baby" Dodds was a jazz drummer born in New Orleans, Louisiana. He is regarded as one of the best jazz drummers of the pre-big band era, one of the most important early jazz drummers, he varied his drum patterns with accents and flourishes, he kept the beat with the bass drum while playing buzz rolls on the snare. Some of his early influences included Louis Cottrell, Sr. Harry Zeno, Henry Martin, Tubby Hall. Dodds was among the first drummers to be recorded. "Baby" Dodds was the younger brother of clarinetist Johnny Dodds. His mother, who died when he was nine years old, taught him valuable lessons about persistence and putting one's whole effort into endeavors, he carried these with him through his career as a jazz drummer, he was born into a musical family. His father and uncle played his sister played harmonica. In addition, his father was religious and the family sang hymns together. Dodds, in his autobiography The Baby Dodds Story, told the story of making his first drum: "I took a lard can and put holes in the bottom and turned it over and took nails and put holes around the top of it.
I took some rounds out of my mother's chairs and made drumsticks out of them". At age 16, Dodds saved up enough money to buy his own drum set. Although Dodds had several paid teachers during his early years as a drummer, various jazz drummers around New Orleans influenced him, he started playing in street parades around New Orleans with Bunk Johnson and his band and got a job playing in Willie Hightower's band, the American Stars. The band played in various venues around New Orleans, Dodds recalls hearing many musicians along the way, including Buddy Bolden, John Robichaux, Jelly Roll Morton, he played with several different outfits including those of Frankie Duson and Sonny Celestin, he was part of the New Orleans tradition of playing jazz during funeral marches. Dodds describes this experience in his autobiography: "The jazz played after New Orleans funerals didn't show any lack of respect for the person being buried, it rather showed their people that we wanted them to be happy". Dodds gained a reputation as a top young drummer in New Orleans.
In 1918, Dodds left Sonny Celestin's outfit to play in Fate Marable's riverboat band. A young Louis Armstrong joined the band, the two of them were on the boats for three years; the band played on four different boats, left New Orleans in May and travel to St. Louis, though they sometimes traveled further north, they played jazz and classical music while on the boats. Dodds and Armstrong left Fate Marable's band in 1921 due to a disagreement about musical style, Dodds soon joined King Oliver's Creole Jazz Band. At this time, the personnel in Oliver's band were Joe "King" Oliver on cornet, Baby Dodds' brother Johnny Dodds on clarinet, Davey Jones on alto saxophone, Honoré Dutrey on trombone, Lil Hardin on piano, Jimmy Palao on violin, Eddie Garland on bass fiddle, they moved to California in 1921 to work with Oliver there, they played together for about fifteen months. In 1922, the band, excepting Garland and Jones, followed Oliver to Chicago, which would be his base of operations for several years.
They began playing at the Lincoln Gardens, Louis Armstrong joined this outfit. Dodds describes playing with this band as "a beautiful experience". Dodds recorded with Louis Armstrong, Jelly Roll Morton, Art Hodes, his brother Johnny Dodds. Dodds played in Louis Armstrong's Hot Hot Seven groups. In May 1927 Armstrong recorded with the Hot Seven, which consisted of Johnny Dodds, Johnny St. Cyr, Lil Hardin Armstrong, John Thomas, Pete Briggs, Baby Dodds. From September to December 1927 the Hot Five Armstrong assembled consisted of Johnny Dodds, Kid Ory, Johnny St. Cyr, Lonnie Johnson, Baby Dodds. After the Oliver band broke up, the Dodds brothers played at Burt Kelley's Stables in Chicago, soon after, Johnny Dodds began leading his own outfit, of which Baby was a part. Johnny Dodds died of a stroke in 1940. Of his brother, Baby Dodds said the following: "There just couldn't be another Johnny Dodds or anyone to take his place, and his passing on made a big difference in my life. I had been connected with him for many years and from on I had to be wholly on my own".
After his brother's death, Baby Dodds worked as a freelance drummer around Chicago. This was the time of the New Orleans Revival, a movement in response to the emerging style of bebop. Many jazz traditionalists wanted jazz to return to its roots during this time. Dodds, having remained a New Orleans style drummer untouched by the influence of swing, found himself playing a role in the New Orleans jazz revival. In 1941, he played with his band for a short time; this band featured Mada Roy on piano, Noone on clarinet, Bill Anderson on bass, Dodds on drums. Dodds stayed with this outfit for only three months before they went to California, while Dodds decided to stay in Chicago. In the late 1940s he worked at Jimmy Ryan's in New York City. On some of his trips back to New Orleans, he recorded with Bunk Johnson. Dodds ended up playing with Johnson's band in New York. Dodds described his impressions of New York as a place where people listened to jazz rather than dancing to it: "When I first went to New York it seemed strange to have people sitting around and listening rather than dancing.
In a way, it was similar to theatre work. But it was peculiar for me because I always felt as though I was doing something for the people if they danced to the music". After playing with several outfits in New York, he joined Mezz Mezzrow's group on a tour of Europe in 1948 that lasted eight weeks; the group ended
In general relativity in the Einstein field equations, a spacetime is said to be stationary if it admits a Killing vector, asymptotically timelike. In a stationary spacetime, the metric tensor components, g μ ν, may be chosen so that they are all independent of the time coordinate; the line element of a stationary spacetime has the form d s 2 = λ 2 − λ − 1 h i j d y i d y j, where t is the time coordinate, y i are the three spatial coordinates and h i j is the metric tensor of 3-dimensional space. In this coordinate system the Killing vector field ξ μ has the components ξ μ =. Λ is a positive scalar representing the norm of the Killing vector, i.e. λ = g μ ν ξ μ ξ ν, ω i is a 3-vector, called the twist vector, which vanishes when the Killing vector is hypersurface orthogonal. The latter arises as the spatial components of the twist 4-vector ω μ = e μ ν ρ σ ξ ν ∇ ρ ξ σ, orthogonal to the Killing vector ξ μ, i.e. satisfies ω μ ξ μ = 0. The twist vector measures the extent to which the Killing vector fails to be orthogonal to a family of 3-surfaces.
A non-zero twist indicates the presence of rotation in the spacetime geometry. The coordinate representation described above has an interesting geometrical interpretation; the time translation Killing vector generates a one-parameter group of motion G in the spacetime M. By identifying the spacetime points that lie on a particular trajectory one gets a 3-dimensional space V = M / G, the quotient space; each point of V represents a trajectory in the spacetime M. This identification, called a canonical projection, π: M → V is a mapping that sends each trajectory in M onto a point in V and induces a metric h = − λ π ∗ g on V via pullback; the quantities λ, ω i and h i j are all fields on V and are independent of time. Thus, the geometry of a stationary spacetime does not change in time. In the special case ω i = 0 the spacetime is said to be static. By definition, every static spacetime is stationary, but the converse is not true, as the Kerr metric provides a counterexample. In a stationary spacetime satisfying the vacuum Einstein equations R μ ν = 0 outside the sources, the twist 4-vector ω μ is curl-free, ∇ μ ω ν − ∇ ν ω μ = 0, is therefore locally the gradient of a scalar ω: ω μ = ∇ μ ω.
Instead of the scalars λ and ω it is more convenient to use the two Hansen potentials, the mass and angular momentum potentials, Φ M and Φ J, defined as Φ M = 1 4 λ − 1
The 1887 Purdue football team was an American football team that represented Purdue University during the 1887 college football season. The team compiled an 0–1 record in the university's first season fielding an intercollegiate football team. Albert Berg, a deaf 23-year-old Princeton alumnus, was the team's coach; the team of 12 players practiced for one week before playing in the school's first official football game. The Purdue University football team traces its origin back to October 29, 1887, when its team fell to Butler College by a score of 48–6 in Indianapolis, Indiana. A group of students at Purdue University formed the school's first football team in 1887. Albert Berg was hired as the coach. Despite being deaf, Berg was "the only man in the territory with any knowledge of the game." Berg was 23 years old when he became Purdue's football "coacher." He was paid $1 for each lesson he gave to the newly organized football team and had only one week to prepare the team for its first game. The 1887 Purdue team played its only game on October 29, 1887, against the Butler College team at Athletic Park in Indianapolis.
Butler soundly defeated Berg's squad by a score of 48–6. J. B. Burris was the team captain. Henry Luke Bolley J. B. Burris Henry Caraway Charles Gough R. Gregory L. D. Hord Dumont Lotz B. F. McCoy Charles Middleton John Moore W. J. Ransdall
Heron Quays is a light metro station on the Docklands Light Railway Bank to Lewisham Line in the Heron Quays area of Canary Wharf in East London. The station is situated on the Isle of Dogs and serves the southern part of the Canary Wharf office complex and is directly connected to that complex's Jubilee Place underground shopping centre; the station is contained within one of the complex's office towers. It has an out of station interchange for Canary Wharf Underground station on London Underground's Jubilee line. Through ticketing is allowed between both stations; the station is in Travelcard Zone 2, is on the Lewisham branch of the Docklands Light Railway, between Canary Wharf and South Quay. Open-air, the station was moved 200 metres south and a longer platform was built at this new site to accommodate three-unit trains planned as part of the DLR Capacity Enhancement; the station is on the Docklands Light Railway Lewisham branch, between Canary Wharf and South Quay stations. The typical off-peak service, in trains per hour is: 12 tph to Bank 12 tph to LewishamLondon Buses routes 135, the D prefix route D3, D7 and night route N550 serve the station.
DLR Capacity Enhancement More photographs of Heron Quays station
Arnold Anderssøn Rørholt was a Norwegian jurist and refugee worker. He was born in Tønsberg as a son of administrative officer Anders Arnoldsøn Rørholt and Maja Dannevig, he was married twice, last to Solveig Agnete Erna Wieth-Knudsen, a daughter of professor K. A. Wieth-Knudsen. In his younger days he was an active athlete for the club Tønsbergs TF. Among others he finished twelfth in the Norwegian Championships in pentathlon in 1930, sixth in the 1931 pentathlon championships, he finished his secondary education in 1927, took the cand.jur. Degree in 1932 and studied at the Graduate Institute of International Studies in Geneva from 1932 to 1934, he was a secretary in the International Labour Organization from 1934 secretary-general in the Norwegian Red Cross from 1939 to 1950. During the Winter War he worked for a voluntary ambulance unit, he was deposed during the occupation of Norway by Nazi Germany during the war, but was reinstated after the war. During the war, he instead worked in Storebrand from 1943 to 1945.
He was incarcerated in Grini concentration camp between 14 April and 8 October 1942. After the war he worked with transport of former prisoners. In 1946 he was a founder of the aid organization Aid to Europe, he worked for the United Nations High Commissioner for Refugees in West Germany in 1951 and Austria from 1957 to 1969, led the High Commissioner's refugee work in Tunisia from 1960 to 1961. He headed the United Nations aid to Palestinian refugees in Transjordan from 1950 to 1951, he was decorated with the Austrian Order of Merit, as a Knight First Class of the Order of St. Olav and Commander of the Order of Polonia Restituta, in addition to Red Cross medals
Dana Shertz is a member of SD Sport Innovators' advisory board. He is managing partner of Art of the Unconscious, he is the former CMO of the San Diego, California-based company EnDev Enterprises. Shertz served as Vice President of Sales for Callaway Golf from 1988 to 2002, during which time annual revenue grew from $5 million to $840 million. From 2002-2006 he served as COO of MacGregor Golf; the company attempted a buyout of Callaway Golf with an all-cash bid of $1.24 billion in conjunction with Boston-based Bain Capital, declined by Callaway’s board. From 2006 to 2009, Shertz served as COO and CMO of EnDev Enterprises, which owned various San Diego nightclubs and restaurants. Shertz formed The Art of the Unconscious in 2010 to promote the works of his father, abstract painter Max Shertz. Shertz sits on a part of Father Joe's Villages. In 2008, he was named by San Diego Magazine as one of the 50 People to Watch. Dana Shertz website San Diego Union Tribune "The Business of Seeing, Being Seen"